Gloriously witty adaptation of the Broadway musical about Professor Henry Higgins, who takes a bet from Colonel Pickering that he can transform unrefined, dirty Cockney flower girl Eliza Doolittle into a lady, and fool everyone into thinking she really is one, too! He does, and thus young aristocrat Freddy Eynsford-Hill falls madly in love with her. But when Higgins takes all the credit and forgets to acknowledge her efforts, Eliza angrily leaves him for Freddy, and suddenly Higgins realizes he's grown accustomed to her face and can't really live without it. Written by
During the film companies lunch breaks, Cecil Beaton would sneak onto the current sound stage set being filmed, set up an easel and board, sketching the standing set (scenery), adding color with time permitting, or adding watercolor washes and painting details in his studio lot office. Both Jack Warner and George Cukor had Beaton banned from the daily filming stage; as well, any Warner Stage that set construction, painting, set green and set decorating was in progress. After the film was finished, Beaton had an exhibition with his costume sketches, including these set illustrations, providing some evidence that he had designed the scenery, as well. In fact, Jack Warner had originally signed a contract with Cecil Beaton granting Beaton costume and art direction screen credits. The original New York, London, Chicago, and road show tour-stage scenery had been designed by Oliver Smith. George Cukor and Gene Allen (as Production Designer and Second Unit Director) had teamed on the Judy Garland and James Mason (1954) film musical "A Star is Born". Cukor insisted Gene would design all the "My Fair Lady" sets when he accepted the directorial assignment. In fact, Beaton was never allowed in nor near the film's art department. See more »
Higgins arm on the back of the chair during 'Let A Woman In Your Life'. See more »
[sounds from crowd, occasionally a word or phrase, indistinct and mostly not associated with a character]
Don't just stand there, Freddy, go and find a cab.
All right, I'll get it, I'll get it.
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In the posters, playbills and the original cast album for the stage version of "My Fair Lady", the credits always read "based on Bernard Shaw's 'Pygmalion' ", letting the audience know what play "My Fair Lady" was actually adapted from. The movie credits simply read "from a play by Bernard Shaw". See more »
The quintessential musical with a staggering pedigree.
The classic case of an embarrassment of riches.
The infrastructure of this jewel reads like a Who's Who of American Cinema. Take the play by George Bernard Shaw. It's in the Western Canon of Literature, for heaven's sake. Then add lyrics by Jay Lerner and his longtime collaborator composer Frederick Loewe who gave us everything from An American in Paris, to Gigi, to Brigadoon, among many others.
Directed by George Cuckor, whose credits include not only Gone With the Wind, but also a string of Katherine Hepburn films, My Fair Lady bears Cuckor's brilliant touch in directing leading women. And what a leading woman he had to work with this time. Audrey is breathtaking in every move and every syllable she utters.
But that's not all. Those stunning costumes designed by Cecil Beaton are without peer in modern cinema, especially the Ball Gown. Audrey was so exquisite that she looked unreal, perhaps of another species, as she descended the stairs and donned her velvet cape.
With music direction by Andre Previn, the baton behind Gigi, Porgy and Bess, Kiss Me Kate and even Jesus Christ Superstar, My Fair Lady's musical pedigree is complete. From this perspective, My Fair Lady is the culmination of a generation of America musicals, and the greatest one of them all even before the first frame was filmed.
Ironically, Audrey was denied a well-deserved Oscar. She didn't even get nominated, which from an historical perspective boggles the mind. The Oscar that year went to Julie Andrews for Mary Poppins. Andrews, who had popularized the role of Eliza Doolittle on Broadway before the movie was made, passed on My Fair Lady to do Mary Poppins. Andrews, a gifted singer, was reportedly miffed at the casting of Hepburn, whose singing was dubbed by an uncredited Marne Nixon, and Hepburn's exuberant performance was completely ignored by the SAG.
But there were enough Oscars to go around. Beaton, Harrison and Previn all collected statuettes, and My Fair Lady collected eight total and was nominated for four more.
This immense achievement was almost lost to deterioration, but the newly restored version is stunning. If you don't have this one in your collection, you can't call it a collection.
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